The United States has long been a country that has accepted that change is a necessity for prosperity and growth. However, each change within the nation's history was hard fought against those who resisted such change either through racism, bigotry, and blatant discrimination. African American cinema is enshrouded in history that depicts these themes of racism, struggle, and deprivation. Yet, this same cinema also shows scenes of hope, artistic spirit, intellectual greatness, and joy. Black actresses, actors, directors, producers, and writers have been fighting for recognition and respect since the great Paul Robeson. The civil rights movement of the 1950's and 60's was fueled by black cinema through films like A Raisin in the Sun. Progressions in the industry were hindered by blaxploitation films such as Shaft, but these too were overcome with the 1970's movies like Song. The true creativity and experiences of African Americans started to be shown in the 1980's with directors like Robert Townsend and Spike Lee. These directors helped enable black cinema to expand in the 90's with the creation of works ranging in brutal but honest portrayal of urban life to that of comedy. By analyzing Spike Lee's film Bamboozled, director John Singleton's Boyz in The Hood, and movies like Coming to America and House Party indicate that the experiences of African Americans and the way that they are depicted in cinema directly impacts the way mainstream society perceives them to be, while showing that African Americans are a major driving force behind creativity and ingenious inspiration behind many aspects of American life. The lack of significance that minority cultures in general have been given in American cinema is distasteful. This neg... ... middle of paper ... ...n American communities. Regardless, African American performances have always had the ability to express elements of the African American community on the big screen. For decades these skills were hidden by racist producers and directors. American society was not ready to see the genius, sophisticated skill, and powerful themes that come from African American culture. These films not only help to show the life's of African Americans, but that of all American society, future films will help audiences measure how far America has come in regards to racial tolerance and how far yet, they must go. Works Cited Friedman, L. (1991). Unspeakable images. 1st ed. Urbana: University of Illinois Press. Guerrero, E. (1993). Framing Blackness. 1st ed. Philadelphia: Temple University Press. Massood, P. (2003). Black city cinema. 1st ed. Philadelphia: Temple University Press.
Film Historian Donald Bogle, the author of “Toms, Coons, Mulattoes, Mammies, & Bucks: An Interpretive History of Blacks in American Films,” offers compelling and informative examples of various stereotypes of African-Americans performers. He emphasizes on historical characteristics of gifted black actors/entertainers; renovating their roles to disseminate specific representations that are significant to the economics and history of America’s shifting environmental circumstances.
While Spike Lee and Delacroix's position is shared amongst many in other professions, the issue of racial identity is vastly more complex within the entertainment industry, and beyond what Stubblefield covers within a couple of paragraphs. A black individual working in entertainment must not only deal with the expectations of how a famous person should act, but also navigate the expectations of being a representative of black culture, what different demographics want the black individual to represent, what executives want the individual to represent, and the long-term consequences their roles will have on society. Furthermore, they receive public judgment through social media platforms on how well they conform to the expectations. Additionally, there still exists a catch-22 where a famous black individual will be stigmatized in the media because writers and executives either use subtle or blatant stereotypes for entertainment purposes. This, in turn, leads to stereotypes being further reinforced on both individuals and the overall
Minstrel shows were developed in the 1840's and reached its peak after the Civil War. They managed to remain popular into the early 1900s. The Minstrel shows were shows in which white performers would paint their faces black and act the role of an African American. This was called black facing. The minstrel show evolved from two types of entertainment popular in America before 1830: the impersonation of blacks given by white actors between acts of plays or during circuses, and the performances of black musicians who sang, with banjo accompaniment, in city streets. The 'father of American minstrelsy' was Thomas Dartmouth 'Daddy' Rice, who between 1828 and 1831 developed a song-and-dance routine in which he impersonated an old, crippled black slave, dubbed Jim Crow. Jim Crow was a fool who just spent his whole day slacking off, dancing the day away with an occasional mischievous prank such as stealing a watermelon from a farm. Most of the skits performed on the Minstrel shows symbolized the life of the African American plantations slaves. This routine achieved immediate popularity, and Rice performed it with great success in the United States and Britain, where he introduced it in 1836. Throughout the 1830s, up to the founding of the minstrel show proper, Rice had many imitators.
For many years, African Americans have faced the challenge of being accurately and positively portrayed within mainstream media, such as American made films. They are often represented as people who are inferior to those of the Caucasian race, and are frequently presented with problems that are related to racial discrimination. The portrayal of African Americans in media such as movies has often been considered a large contributing factor to the racial tensions that still exist in our world today (Lemons, 1977). The movie, To Kill a Mockingbird, sheds light on the portrayal of African Americans in movies, and how stereotypes can greatly impact the lives of those who are not of the Caucasian race.
Woll, Allen L and Randall M Miller. Ethnic and Racial Images in American Film and Television: Historical Essays and Bibliography. n.d. Print.
Over the course of approximately one-hundred years there has been a discernible metamorphosis within the realm of African-American cinema. African-Americans have overcome the heavy weight of oppression in forms such as of politics, citizenship and most importantly equal human rights. One of the most evident forms that were withheld from African-Americans came in the structure of the performing arts; specifically film. The common population did not allow blacks to drink from the same water fountain let alone share the same television waves or stage. But over time the strength of the expectant black actors and actresses overwhelmed the majority force to stop blacks from appearing on film. For the longest time the performing arts were the only way for African-Americans to express the deep pain that the white population placed in front of them. Singing, dancing and acting took many African-Americans to a place that no oppressor could reach; considering the exploitation of their character during the 1930's-1960's acting' was an essential technique to African American survival.
... middle of paper ... ... Despite the progress that blacks have worked toward since the days of slavery, society continues to give in to the monetary benefits of producing self-disparaging entertainment and media. It is not only up to the directors, editors, producers and writers to establish this change, but it should also be the demand of the people, or the consumer.
In “The Oppositional Gaze: Black Female Spectators,” Bell Hooks explains in spite of the oppressive acts African American women dealt with through early history, there has been recent movement within television and film to oppose stereotypical views against African American female citizens. Hooks supports her position by summarising the antiquity of white supremacy in mass media, along with the sexist movement presented in films by African male filmmakers to have women as an object of a male’s gaze in films. This has proven not only African American women are degraded by white citizens in mass media, but also by their male counterpart. The lack of diversity led to many black women across the United States to have a distasteful appeal towards film.
Representations of immigrants on screen has been problematic since the early days of the motion picture medium. Hollywood cinema, particularly, is referential to the various lifestyles that encompass the American experience, visual representations of cultural characteristics and traditions that are the very fabric of an ethnic background. Through an American lens, a certain perception arises, which, more often than not, translate as either underrepresented or greatly exaggerated, the repercussions of which are still being dealt with today. Here, the main focus will be Latinos on film, as discussed in lecture on February 2nd, 2018. What follows are responses to some of the topics mentioned in the lecture that are of specific interest.
Being one of the few black students to attend Tisch School of the Arts, the aspiring filmmaker’s first year at New York University was a particularly difficult one. Lee’s experiences, race, and upbringing have all led him to create controversial films to provide audiences with an insight into racial issues. Spike Lee’s first student production, The Answer, was a short ten minute film which told of a young black screenwriter who rewrote D.W. Griffith’s The Birth of a Nation. The film was not well accepted among the faculty at New York University, stating Lee had not yet mastered “film grammar.” Lee went on to believe the faculty took offense to his criticisms towards the respected director’s stereotypical portrayals of black characters (1).
This movie is a wonderful production starting from 1960 and ending in 1969 covering all the different things that occurred during this unbelievable decade. The movie takes place in many different areas starring two main families; a very suburban, white family who were excepting of blacks, and a very positive black family trying to push black rights in Mississippi. The movie portrayed many historical events while also including the families and how the two were intertwined. These families were very different, yet so much alike, they both portrayed what to me the whole ‘message’ of the movie was. Although everyone was so different they all faced such drastic decisions and issues that affected everyone in so many different ways. It wasn’t like one person’s pain was easier to handle than another is that’s like saying Vietnam was harder on those men than on the men that stood for black rights or vice versa, everyone faced these equally hard issues. So it seemed everyone was very emotionally involved. In fact our whole country was very involved in president elections and campaigns against the war, it seemed everyone really cared.
I have always believed that all races have their good and bad. Their is never going to be the perfect race. This movie definitely set a powerful message that life is not perfect for any race and that even though people are from different cultures, they are all interconnected somehow. The filmmakers did a great job at showing us that individuals should not be based on first impressions such as skin color or the social status.
When a production team is in the process of creating a film, they have one goal in mind and that is to create a masterpiece. A masterpiece worthy of being talked about, a masterpiece worth remembering , a film worthy of recognition and nomination for awards. The topic I am going to explore is about one of the biggest controversies in the media world and that is the Academy Awards, also known as the Oscars and the assumption that they're racially biased against African American films. A few of the questions that I will conduct further research on is why are the Oscars racially biased? What movies deserved awards that weren't even nominated? Were the movies that weren't recognized a majority African American cast? How does it affect the community
Seitz article gave an example of films where the African- American help the Caucasian with their task. He then went further to solidify his argument by bringing in the Obama presidency as an example. On the other hand, Hagedorn analyzes the offensive and demeaning of these seemingly innocuous film cliches by uses examples from The World of Suzie Wong (1960). This shows that in the world today, even if it does not seem that people are been stereotyped, it still occurs without people
While watching movies, have you ever noticed that the villains in almost every single Hollywood film are of Middle Eastern or European descent? In a reoccurring theme of Hollywood, the villains in these films are almost always foreigners or people of color. This is a stereotype. On the other side of the spectrum, we often see that the heroes of these films are most often than not white males. This is another stereotype. Within the last few years, we’ve seen actors such as Will Smith, Morgan Freeman, and Zoe Saldana take the lead roles, so it can’t be said that there are no non-white heroes, but there certainly isn’t many. Hollywood action movies, moreover than other genres, are typically loaded with an abundance of stereotypes. The way these movies are composed and structured can tell us a great deal about the views held within the American psyche and who holds the social power. The harsh reality is that the media ultimately sets the tone for societal standards, moralities, and images of our culture. Many consumers of media have never encountered some of the minorities or people of color shown on screen, so they subsequently depend on the media and wholeheartedly believe that the degrading stereotypes represented on the big screen are based on fact and not fiction. Mary Beltran said it best when she stated in her “Fast and Bilingual: Fast & Furious and the Latinization of Racelessness” article, “ultimately, Fast & Furious mobilizes notions of race in contradictory ways. It reinforces Hollywood traditions of white centrism, reinforcing notions of white male master while also dramatizing the figurative borders crossed daily by culturally competent global youth – both Latino and non-Latino” (77). This paper will specifically look...